July/August 2014

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39 JUL-AUG 14 / CINEMONTAGE by Debra Kaufman I n the MAY-JUN 14 issue of CineMontage, writer Mel Lambert surveyed sound designers, sound editors and supervising sound editors about the Digital Audio Workstation add-ons that they use to get the job done. In this issue, we've asked picture editors what their plug-in choices are (see sidebar on page 43 for more details). First surprise: Picture editors don't rely on plug-ins as much as their sound brethren do. According to a number of Guild editors interviewed, audio editors are much more likely to use plug-ins than picture editors, using tools to sweeten and tweak audio with reverb, pitch correction and other characteristics. Why are plug-ins less popular among picture editors? It all boils down to how the project is going to be finished. On the audio side, there's no conform, whereas picture editors are all working on offline material. With the exception of short-form material (commercials and music videos), editors have to know how the project will be conformed. For example, a project conformed with Symphony can make use of anything done in the offline, whereas anything conformed on Smoke requires any visual effects done in the offline to be re-created. But picture editors do use plug-ins — usually but not always to create visual effects, which can help tell the story and act as placeholders in offline. Dan Lebental, ACE (Thor: The Dark World, Cowboys & Aliens, Iron Man 2), who is currently cutting the thriller Term Life, agrees with that assessment. Plugged-In for Picture What Film Editors Are Using HPA14_MPEG_v3.indd 1 6/13/14 3:00 PM Work frames from Boris Continuum Complete v. 9. CineMontage_Jul-Aug_14-4.indd 39 6/18/14 5:52 PM

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